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Partial Transcript: Eamon Moore: So to start just, could you introduce yourself and tell us a little bit about who you are and what you do?
Myles Brown: Yeah, my name is Myles Brown. I'm a filmmaker and musician based out of Richmond Virginia. I have a video production company called Mylo Video Productions. So I do a lot of business promotions around the city, whether that's schools, um like Richmond Regional Tourism, Chamber RVA... things like that.
I also make films in my free time and mainly what I try to do through my films is incorporate a lot of music. Sometimes it's original, but it's to tell a story and it's based all around community psychology and how it can build a stronger community in Richmond based on storytelling.
Moore: Okay, very interesting. So you're a freelance videographer, like video freelance and you also do your own music and film. Okay, perfect. So as far as the music side, when did you discover your passion for music? And can you just talk about your background musically and like when you started getting into it?
Brown: I started playing the piano when I was around five years old, I was a very classically trained piano player. So I grew up through middle school, I lost interest in middle school but I used to play like Bach, Beethoven, Tchaikovsky, like everybody really. And I was like super into it and I think I just got burned out and just didn't really want to do it anymore. and then in high school, my senior year I picked it back up because on the iPhones, you know how they have garageband? So I started using garageband and making like full three minute songs that had 30 tracks on my phone. And I was like you know what like I should start getting back into this. I got a microphone and I got logic and that's when everything started changing. And from there I started making some music in college that I would just release on Soundcloud. And then I finished up playing soccer at UNC Charlotte, so I had some extra time um in my last semester and I was talking to my cousin who also makes music and I showed him a song and it's called Summer Suite which is on one of my EPs. He was like we should make a summer EP. And I was like alright cool. So in two weeks I wrote six songs. Put everything together. Got all mixed. And then from there I just kept on making music.
Segment Synopsis: Myles explains his background, what he does, and why.
Keywords: college; filmmaking; music; piano; video production
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Partial Transcript: Moore: So I saw on your website you said you wrote most of this project Journey and like one night. Yeah. So is that typical for you? Like pretty quick writing?
Brown: If I'm inspired, I normally write pretty quick, right? Yeah. So for Journey, I did right? Like the five core songs in the span of maybe four or five hours. Which is crazy. That was how I knew I needed to keep on this idea because I was like something's here, like I don't normally write that many, like I'll write a verse or like a song maybe pretty quickly but never four or five. But yeah typically kind of sit down and just come up with something, I'm feeling like it and do it pretty quickly. I'm working on a new project right now, I'm not gonna go into detail because it's still like developing but I'm taking my time on this one and just like the lyricism in it is very deep and it's all about experiencing different seasons in your life and I'm trying to consciously write down how I'm feeling in each season kind of throughout the year and then combine that. So this one is taking a bit longer.
Segment Synopsis: Myles talks about his writing process for Journey vs. other projects he's worked on.
Keywords: lyrics; songwriting; writing
Subjects: music; songwriting; writing
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Partial Transcript: Moore: That's interesting. Yeah. So can you talk about a little bit of your background in psychology and mental health, like your knowledge of that and like your time at UNC Charlotte?
Brown: Yeah. So when I was at UNC Charlotte I majored in psychology and I joined the community psychology lab about perceived discrimination against African American college students and some of the coping mechanisms they used to combat that and that's what I started understanding I guess my passion for, not just mental health awareness but also kind of the overall well being of the community. And then when I moved back to Richmond and came to VCU I started doing more video work at first, I didn't see any correlation. I was like, I majored in psychology, minored in film. Like how do those go hand in hand, but now I've realized that my message is community psychology through film as the medium to connect people.
Moore: That's really interesting and music too, I guess... Yeah, so I guess that's kind of who you are is that combination of psychology, film, music all in one. So if you're comfortable discussing it, can you talk about some of the struggles you're going through that led to the creation of this project? Like I know that that was a big aspect of this, the pandemic and the loss of your friend were big influences in this project.
Brown: So yeah, so I learned about the passing of my best friend. So he went missing in 2020, January 2020, and they didn't find him until 2021, but he had taken his own life and he had been struggling with depression and anxiety for years and I had known that and you know, he's always been really close and he would open up to me, I would talk to him about things. He had been traveling a lot more internationally and you know, I remember the last conversation that we had, he called me and I picked up and he said like I knew when I called that you would pick up the phone. So like, that really helped in kind of my closure is that I know that I was there for him as much as I could be. Obviously that didn't make it a lot easier, but I was trying to distract myself by overworking myself with my video production company, but it was really when I sat down at my desk one time talking to my sister on the phone and she said essentially it's okay for you to not feel great at this time. I remember I just cried and once I did that, it was kind of like a cathartic feeling where I was like, you know what, like, I gotta get some of these emotions out and process it. So that was like the driving force.
And then there's, I mean there's a lot of stuff kind of going on at that time, like obviously coping with the loss of John and like having to plan your best friend's funeral and then my mom was diagnosed with pancreatic cancer at the exact same time. And so it's like all these things were hitting me at once. But the reason that kept me getting out of bed every day was making Journey and that film, like being outside and in these spaces in Richmond and go into the different parts and having these difficult conversations then putting music behind it and touring Richmond to find spaces that represent the themes in the music that's how I found peace and I know being vulnerable and doing that myself will help so many other people and my goal is to move it through the school system. Like I screened it at high schools, I screened it at VCU, I'm just trying to get the awareness out and it's not about, you know, making me famous. It's like, that's why it's frustrating when people are like, oh, like, nice concept, like, cool, I'm like, no, this is to help save other people's lives and it's not about me. So people are finally starting to wake up a little bit about it. But ironically, I've had to bridge the gap between the creativity of Journey and corporate people who can fund it to move it by doing art projects around the city of Richmond for free on my instagram page to connect the city of Richmond to Journey. So once they look at my work from the last year, they'll realize that all the spots that I've been filming in the same spots that I filmed in for Journey.
Segment Synopsis: Myles breaks down his background in psychology and mental health and the hardships that led to the creation of his project "Journey".
Keywords: coping; coping mechanisms; journey; mental health; trauma
Subjects: coping mechanisms; education; mental health; music
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Partial Transcript: Moore: So can you talk about those spots a little bit like what locations you picked for Journey and why you picked those specific locations? What went into the decision making there?
Brown: Yeah, let's see Forest Hill Park was where it all started. Have you been there?
Moore: I've never been there.
Brown: So, it's on the south side, it's right by Belle Isle, a couple of miles past Belle Isle out by Riverside Drive and that's where I had my first conversation. I just brought my camera and it was me and my friend Mike we walked and I had a prompt question, I was just like what does the Journey mean to you? And we answered openly and honestly and I still have like some of the voice memos and the thing is about Journey is that it wasn't really scripted, it was, we went back through our conversations and then picked what we actually said and found what fit the storyline as it evolved as we went around. But Forest Hill Park is where it started, Maymont was huge, it represents, like my mind, my mental state, the battleground, if you will of how I, you know, progress through my journey. Libbie Hill Park is one of them as well, where we had one of our first conversations, the Pump House, which is by Byrd Park. Um where else did we go? ... I guess the Canal Walk, Shiplock Park, we filmed there which is down by the river but we ended up not even using that scene, but we did like a whole day shooting there. Browns Island, Teapot Bridge, the, like... it's like a Richmond overlook kind of, Churchill overlook spot. Yeah man, we're really just traveling all over the city and kind of eating at different places and experiencing the culture of Richmond.
It’s why if you're a Richmonder and you see the film, it features over 50 different locations in the city. So when people watch it, they're like, I've been to all these places, but I've never seen them in this way. It's because when I view things, I view things. I love drone footage, like drone videography or like, specific music that matches the sentiment and I find an area by exploring a city that matches that, and I'm very good at, you know, combining those two. So people are like, I've never felt this way about this location. I've had a lot of people say they walk around to a new spot or a spot that I featured in Journey they've been to, and it has a completely new meaning now, which is what it's supposed to do. It's a newfound meaning of the city that I grew up in and people are finding that along with me by seeing my journey.
Segment Synopsis: Myles talks about the spots he filmed at.
Keywords: Richmond; environment; film'; parks; video production
Subjects: Landscapes; Richmond
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Partial Transcript: Moore: Okay, Yeah, that's great. Let's see. So nowadays, like, your day to day life, what's like, the balance between you working on maybe like, other projects that you're being paid for, your own projects that you're working on more passionately, like this Journey one you're trying to get out to people, what's your, like, your balance as far as like, how much time you're spending working on on this project and versus other projects and other things you're working
Brown: Right now, I've been doing a lot of corporate stuff to try to get into those like conversations and things and it's been really good because a lot of it stemmed from Journey like I had the Martin agency which is an advertising agency here. Like PBS, Virginia public media, all these different outlets. People from the Chamber of Commerce all were watching the premiere. So I ended up being able to incorporate my art style into corporate videos and most people can't really do (that). So my clientele has gone crazy this last year. So I've been doing a lot of filming like that.
Tourism stuff is pretty fun but I've been trying to balance it out with candidly experiencing the art culture and like, talking to a lot of muralists specifically in the community like the street art festival that happened in the Canal Walk when they updated the murals, I was there and I was able to talk to and meet all the coolest muralists in the city and just got all these little things, I would do something for free outside of my corporate work and it would end up leading me to more corporate projects, like bigger projects, but it's all because I'm trying to do stuff to represent the art of the city and ironically people are like we want that feeling in our corporate stuff so it's like a 50/50 kind of mix right now, but next month is turning into like 75/25 just corporate. But one of my new clients is doing...
So my work is going to be in the main atrium of the V. M. F. A. in February. And the city of Richmond, based off of the videos I've started to make, is now considering video an art form. So they're putting, actually, I'm going to a gala tonight where they're recognizing Journey in the main street station and talking about that because the theme is unmasking mental health, literally what journey is. So people are finally seeing film as an art medium so it's helping with my corporate stuff but also allowing me to have that space to just go out and create. But I love just going out into the city just filming stuff that like I hear like a Daniel Caesar song, it just makes me feel a certain way and I'll get some imagery and I'll just go out and film what represents that song in the city of Richmond and people feel really connected to that
Segment Synopsis: Myles discusses his day to day corporate art/personal art balance.
Keywords: budgeting; time management; work; work-life balance
Subjects: corporate work; day-to-day life; quotidian; time-management
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Partial Transcript: Moore: Wow. Yeah, that's awesome. Let's see. So, on your website I saw, also, that you've listed six local sponsors. Like I saw St. Christopher's School was a sponsor of the project. So in what sense are they sponsoring the project? Kind of break down, like, what those sponsors are exactly.
Brown: Yeah so St. Christopher's School donated to the project. I actually went there. So did my friend John. And I sat down and had a proposal and I explained to them the project and once I sat down in the room and they saw the visuals and the trailer they were like yes, like we need to help. So they were the first, some of the first people on board.
Rainmaker Studios was amazing. I still use them to this day and they do all of my sound design for my corporate videos that I do. But that one was introduced uh John, my friend John, his mom and the head of the Rainmaker Studio are friends. And she invited me to the studio. I told her what Journey was and she was like we will help you out for free because like I'm telling you this is like one of the best sound design studios that you could have in the entire country and it's here in Shockoe Bottom and they just let me have access to it.
And the other one is Overboard Media, that's my friend Daniel Bagby who showed me almost everything I know about cameras but filmed the majority of the music videos for the project. I think Penrose Projects was one of them. That's my friend Mike Avey who's like I do all the conversations with and stuff and I just want to support his creative vision. Um who else was... Oh! C. K. G. Foundation. Yeah and they're all about teenage depression, anxiety and I volunteer with them. I mean like their booklets that they send out two different teams kind of around the country just talking about mental health awareness. And every year I go and I filmed the speak up 5K which is to bring awareness to teenage depression anxiety. Always make a video for them. Just send it to them. So they supported financially and helped spread the word. So yeah,
Moore: So that's awesome. That's a pretty unique, I feel like, way to go about making a project like this. Like it's… I've never thought about how you go about the proposals and gathering people who will help you out on this.
Brown: Yeah, because that's, that's the main thing is um I was able to get away with doing Journey because I was so kind of unknown and could kind of go through and film these different spots because Richmond's like pretty accessible for the most part. But if I want to do something that's larger scale, like my next project, I know I have to come up with the treatments, the proposals, there's a whole process of having your pitch, selling people on it, and getting enough support so that you can have it funded. And I had to pay for Journey out of my pocket. And that was maybe 25, 30 grand of everything that I was making that year, I put it straight back into the film.
Moore: I was wondering that, it's impressive. Like it's a lot. It's clearly invested like a lot of effort, time and money.
Brown: Yeah it was. Like total equity at least like 100K, like just time and like all the editing and stuff, but you know, it's, it's gonna pay off because like I said, the message I think is timeless. I'm not worried about it, right? I'm not like, oh shoot, this trend is gone. It's like, no, this is a universal theme. So I'm very confident that even if it takes me… I presume that next year, this time the majority of people will know what Journey is. So it's just chilling and waiting at this point. I've already made all the connections, so it's just about developing them. But I knew I was like… people won't take me seriously in time in the V.M.F.A. So I did like those art projects just filming different people and it led to me being in the V.M.F.A. So, it's like, okay, now look at my film.
Segment Synopsis: Myles breaks down the sponsor roles in his project as well as other measures he took to finish and promote the project.
Keywords: funding; music; sponsorship
Subjects: funding; sponsorship
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Partial Transcript: Moore: Yeah, so let's see, what was your favorite location that you shot at for Journey? And why?
Brown: Man, this one's really tough because…
Moore: You can pick maybe two…
Brown: Okay yeah I would just say… have you seen the film?
Moore: I have not seen the full thing
Brown: Man, I'mma send it to you.
Moore: Yeah please. Yeah I was gonna ask after like how can I… I will ask it now too for this. How can people access it?
Brown: It’s still a private link so nobody can really access.
Moore: Right okay. So you've been throwing it to just like you've just been screening it for different audiences.
Brown: Because I'm trying to keep it very together and streamlined so that people aren't seeing it out of context of knowing what the overall message and my initiative is. So I'm maintaining control of all the rights and stuff helps because it wasn't like I was sponsored by someone else to really do the film, like a distributing company or something. So I hold all the rights to all the masters of the music, the entire film.
So I'm making sure I that the community understands what I'm trying to do for the betterment of the community and spreading empathy and then show journey and like yeah, I'd say I'd probably make most of my, not most of my money, but a lot of money from the film back by screening at different universities, spreading that message
Moore: I didn't think about that. That's a good idea.
Brown: It's an investment, you know, like… I was paid to go screen it and St. Christopher's, you know, so… and I know once the message gets out like I'll probably be screaming at U of R like next year. So… but favorite locations! I would say it's tough because I gotta say, like, my favorite music video that I did was for the song “Cruise” with Pierre. Absolutely love that song and that song takes place in like 20 different locations. It's crazy because it has so many intricate themes that are represented visually through places that exist here. But overall, one of my favorite places just to walk around has to be like Browns Island and then like Teapot or Potter's Field bridge. That location is one of my favorites. Just kind of… now it's starting to turn into Canal Walk where the murals are, the new murals.
Moore: I haven’t been there yet.
Brown: Oh, you got to! and, and Forest Hill Park. That's where everything started.
Moore: I’m gonna go to all of these places after this.
Brown: Dude so Forest Hill Park man is like, it's zen like you can just walk through and they have like different sections where there are rocks where you can just sit on and just like have the water just rolling. I love that place. And obviously Maymont has a special place in my heart and now they're one of my clients because they saw jerry. So you, so you can't actually film in Maymont. You can't fly drones, right? Um, I did it anyway. And they saw the film and they were like, we're doing a new orientation video for the entire park that we need to run on loop in our new welcoming center. We're hiring you because we saw what you did with Journey. So it's all about breaking little rules. So, because I'm breaking rules to help the community. I'm not just doing it to like break them, you know? So now people are seeing that like, oh shoot, we didn't know or like… have you heard of the folk festival?
Moore: Yes. Yeah, actually uh our professor offered us extra credit to attend. It was during our long weekend at some point, but he's big into the folk festival.
Brown: So I was like on stage and everything there, and the thing is I wasn't supposed to be, but I have my own media pass that has my production company and it says like media and has my face on it, my QR code on the back and people want to scan my work. I know people from Venture Richmond, but I was like if I want to get them as a client, I have to break this barrier, the city of Richmond is interesting. We don't have a lot of video coverage and it's a catch 22 because we don't have a lot of video coverage and big organizations are like, well we don't have a lot but we're doing okay, so we don't need it. So then most people are like dang well no one's hiring me. So nothing ends up getting made. So I go and I filmed the event and then I just tag them in it as I post with different local blogs and then they're like we're hiring you. ...
Moore: That’s smart, that’s smart.
Brown: And now they're one of my clients,
Moore: Yeah, you can just keep doing this and eventually everyone will be a client.
Brown: No, for real! Once Journey drops it’s gonna be crazy. Hopefully I can just focus on art after that.
Segment Synopsis: Myles talks about his favorite locations and the rules he had to break to film there.
Keywords: Locations; pitching; rule-breaking
Subjects: Richmond; filming; locations; rule-breaking
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Partial Transcript: Moore: So as far as the music goes, what's your, I think maybe you mentioned “Cruise”, well… What's your favorite song?
Brown: “Cruise”, by far. Yeah.
Moore: That's funny because I also love that. I think that sounds amazing. And I was gonna ask you about your relationship with Pierre who is a UR alumnus and a friend of mine as well. Yeah. Can you talk about your relationship with him and how the process of that song worked getting him on the song and recording him and everything.
Brown: Yeah. Did you see the BTS by any chance? Behind the scenes?
Moore: I have watched a little bit of it but I can't remember exactly.
Brown: So, super cool, fun fact. I recorded Pierre’s part in this basement.
Moore: Oh yeah, down here?
Brown: Yeah. Uh huh. So full circle in a lot of ways. But I was first introduced to Pierre one summer when I was hanging out with Jacob Roberson who is another graduate and very involved in the arts here at U of R and he sang for me and I was like ph my gosh your voice is incredible, let's work in the future. We worked on one of my other projects that are released in 2020 and I told him about Journey, the meaning behind it and, I think he just really connected with the story line and I was like there's this point in the project where I have to represent like this sort of hopelessness but like also optimism and the perfect way to capture that is using something theatrical like a Pierre and the part that he sings is “no destination, I just keep on searching” which is like one of the themes throughout the film as I search through the city of Richmond to find what is truly inside of me. So we just came in here and recorded that part and I had the verses written already from that first night and I was like I need Pierre to bring this home and he did. He killed it bro. Like that part, it has so many voices going on at the end too, like it's got probably 30 layers kind of going at the same time. Also when I was engineering all of this and like doing the mix is my mixer was in Brooklyn so we had to do this all virtually and it took a long time. Trying to describe the transition, you know, from the end until Pierre is part of that transition. I had to do that over the phone. Like it was crazy bro, but
Moore: Can you talk more about that? Like mixing and like sound engineering process for the songs because I feel like your expertise is the music and the filming mostly, like these are like your two main areas, but I'm imagining you're not an expert sound engineer, so how do you, how do you work through that?
Brown: So once I knew how serious I wanted to take Journey, I reached out to one of my friends who actually played soccer at VCU. And he is a manager of an artist in New York, and that dude has some really nice songs and I love how they mixed and I was like could you connect me with the mixture for this? And so he did, we hit it off like right off the bat.
I sent them some demos, I ended up re-recording all the songs pretty much because they didn't have the right energy when I was recording the first time. And he was just amazing, the first mix that I got back, I was like, I don't think this is gonna work because it didn't sound like how I wanted them to, but also it was our first mix, but after we did two songs, the mixes kept coming back faster and much better because he's like, oh like I know you like your ad-libs to sound like this and have this reverb or panning this way and to do this…. So we developed a really cool workflow and we still talk to this day like, just not about music, but just about life and stuff and what he's doing and what I'm doing and things. But… so as far as like the frequencies and and all the mixing and stuff, I don't know how to do all that because I'm just working on so many other things that I can't like put all my time into that part, but I know how I want my stuff to sound and I'm like very patient to like try to explain that and you have to be, because the other part about being a creative, especially making something like Journey is that 1. no one really knows that I made it yet…. and they're about to wake up… at some point… but uh working so hard and no one seeing anything ... like one mixing session just to go through a mix would take like five hours on the phone and nobody sees that work or anything. So it's just like…
Segment Synopsis: Myles tells about his favorite song, a bit about Richmond alumnus Pierre Galloway who features on the song, and the post-production mixing/engineering process.
Keywords: engineering; mixing; music; song; sound
Subjects: favorite song; remote working; sound-engineering
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Partial Transcript: Moore: All right. So I guess the last question going forward, what's next for you? I guess you said you're obviously gonna try and get funding for new projects, but do you expect it to be music going forward? Or just gonna focus more towards the art or you don't know what's going to happen? Like destinations unknown.
Brown: Yeah, destination unknown. And I like it that way. Yeah. I I want to allow myself to have the freedom to evolve and go in whatever direction I think makes sense for my life. So I'm not gonna say oh I just want to do corporate stuff like I just want to do art. I'll probably do a mixture. I think what I'm creating right now, the city is just ground zero and I'll recreate other like not Journeys to that extent but like as far as that community psychology model through film, wherever I travel, I think I'll probably do a lot of traveling videos of like representing what it means to be in a culture, not just the tourist places but like almost lifestyle type things where people feel like they're at events. So people don't understand why, but every time they see my videos they are like “I felt like I was there” and I'm like yes it's because I talked to people it's because I get those angles because I choose the I choose the music in retrospect after I've gotten the shots and I evaluate them to see what the sentiment of the video is and that's why people are so connected to it. I don't just go and record, like, I try to feel and represent the city in Richmond as in art piece and that's how I look at each building, that’s how I look at like the landscape. So even drone pilots, one of them saw the film was like, I've been filming all these locations and I've never seen Richmond like this before, and I was like because of the music, music brings everything together. So, and that's a long way of saying, I don't know, I'm definitely gonna keep making music, like that's not gonna stop. Just, music, I feel like the sentiment just keeps getting realer and realer. Like one of the… I'm gonna share this chorus and it's gonna be cool cause you're gonna see it I guess in a couple of years.
Also I have one that I wrote, I think you could be great on, but the words are “fresh air darling. I'm still breathing, no cares on my mind. I'm gonna let em go, won't ask even if I need to know. How can you believe in me when I can't be myself? The sinner saves herself. I'm not the cards. I'm dealt”
Moore: Damn. I’m still trying to process that.
Brown: Like you can look at a line and you can spend a whole class like talking about just what that means because it's like so many different statements that when you put them together with the melody is. Like I've sat down in my bed listening to that one and how it sounds like a Bon Iver-y type sound. That's like the new wave of the sound I'm going for. And it's almost like tears come to your eyes. You're just like, what, what does this mean to me in my life?
Like “the sinner saves herself” that line is like… what does that mean? You know? But I want people to be able to evaluate that and I wrote that at a certain point in my life earlier this year where I was processing a lot of stuff and those lyrics just came out. Like how can you believe in me when I can't be myself? So yeah. Little sneak preview.
Segment Synopsis: Myles talks about what is next for him and his mantra of "destination unknown".
Keywords: future; goals; upcoming projects
Subjects: future; goals; journey; lyrics; upcoming projects
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Partial Transcript: Moore: That's kind of what I was trying to get at it earlier. I guess the core of this, like just how much work you put in on all these levels. There's so much effort put into this project and it's like everyone…. hopefully this gets out to like a bunch of people because it should.
Brown: It's going to because the gala tonight is a fundraiser for artists. And it's all like the local kind of art elites who can pay 55 bucks for just like a ticket to come somewhere and I'm talking at the beginning about what Journey is so like…
Moore: That’s awesome.
Brown: Yeah, it's crazy how that even came about.
Moore: It’s crazy that that is tonight.
Brown: Yeah, yeah, literally tonight at seven and it's, it's sold out completely. These people are still trying to get tickets to get in and they're turning people down. And it's wild because they asked me if I could film a video for mental health and I was like, I have a film. I sent them the interview I had on CBS 6 and they were like we want to show you as the artist, not as just a person to do this. And I had put Journey to bed for the year. I was like, I'm not gonna do anything else, but I'll attack it again in January and then this happens. So God works in mysterious ways and we got, you know, we were filming, all of this like run and gun. We really did it with like three people, me, my friend Daniel with Overboard and then my friend Mike who is in the film.
So you look at all the credits and it's like Myles Brown, Daniel Bagby, and Mike Avey, and that's it. And everyone is like, whoa, but we were filming a Main street station and we didn't have a permit or whatever, so we had a security guard be like, hey, you can't be here. Then like some other one thought she was like a superhero, was like, you gotta get out of here.
Like if you don't have a ticket, you gotta get out of here gotta leave and we're like actually bought a ticket from Main Street Station to Staples Mill so we have to stay here to reach our… But we didn't get it done that day, because again we got kicked out and then I called them and I’m like how much is it to do a video shoot, I’m doing a film? They’re like 9000 during the week or 14,000 for a weekend. And I was like okay I'll get back to you, I'll talk to my team… and my team is me. And so then I was like how much is a photoshoot? She was like a photoshoot is free. So we set up a photo shoot and that's how he filmed everything in the main street station. And so we went from being kicked out of Main Street station to now being the featured on screen in the art space of the main street station. Yeah. Within a year. So ...
Moore: Yeah, you’ve tricked a lot of people and then afterwards it's like oh that's actually really cool what you did.
Brown: People like… they didn't know what they were trying to stop. And I was like I can't blame you for not knowing because I have this vision and I know I'm gonna keep working on it until people see it. Now they are. The same lady that I… the same lady that I talked to on the phone and told me that ridiculous price walked in and taped or plugged my film to the T.V.
Segment Synopsis: Myles talks about the Gala he is speaking at that night to get fundraising from donors. Funny excerpt about filming at Main Street Station as well.
Keywords: Gala; Main Street Station; crowdfunding; filming; fundraising; rule-breaking
Subjects: crowdfunding; gala; main street station